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Cultural Diversity and Public Funding of the Arts: A View from Cultural Economics

Cultural Diversity and Public Funding of the Arts: A View from Cultural Economics Cultural Diversity and Public Funding of the Arts: A View from Cultural Economics MICHAEL RUSHTON conomic arguments in favor of public funding of the arts are familiar to E virtually all students of cultural policy, even if they are not economists by training. But the economic analysis of why the marketplace alone might pro- vide an inadequate level of support for the arts and the rationales for public assistance were born in an era when it was assumed that everybody-or at least those who made public policy-knew what kind of art was worthy of subsidy. Representative of this traditional view are statements by two of the most promi- nent public economists of the middle of the twentieth century: “The only valid argument for government aid to the arts is that it is a means of educating the public’s taste and that the public would benefit from a more educated taste” (Scitovsky 1972, 68); and “[Ils there not a . . . case for public patronage of the arts, some general encouragement of high excellence in culture-in the visual arts, in music, and in the theatre? To this question, I . . . would answer unhesi- tatingly yes” (Robbins 1963, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png "The Journal of Arts Management, Law, and Society" Taylor & Francis

Cultural Diversity and Public Funding of the Arts: A View from Cultural Economics

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Cultural Diversity and Public Funding of the Arts: A View from Cultural Economics

Abstract

Cultural Diversity and Public Funding of the Arts: A View from Cultural Economics MICHAEL RUSHTON conomic arguments in favor of public funding of the arts are familiar to E virtually all students of cultural policy, even if they are not economists by training. But the economic analysis of why the marketplace alone might pro- vide an inadequate level of support for the arts and the rationales for public assistance were born in an era when it was assumed that everybody-or at least those who...
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Publisher
Taylor & Francis
Copyright
Copyright Taylor & Francis Group, LLC
ISSN
1930-7799
eISSN
1063-2921
DOI
10.1080/10632920309596568
Publisher site
See Article on Publisher Site

Abstract

Cultural Diversity and Public Funding of the Arts: A View from Cultural Economics MICHAEL RUSHTON conomic arguments in favor of public funding of the arts are familiar to E virtually all students of cultural policy, even if they are not economists by training. But the economic analysis of why the marketplace alone might pro- vide an inadequate level of support for the arts and the rationales for public assistance were born in an era when it was assumed that everybody-or at least those who made public policy-knew what kind of art was worthy of subsidy. Representative of this traditional view are statements by two of the most promi- nent public economists of the middle of the twentieth century: “The only valid argument for government aid to the arts is that it is a means of educating the public’s taste and that the public would benefit from a more educated taste” (Scitovsky 1972, 68); and “[Ils there not a . . . case for public patronage of the arts, some general encouragement of high excellence in culture-in the visual arts, in music, and in the theatre? To this question, I . . . would answer unhesi- tatingly yes” (Robbins 1963,

Journal

"The Journal of Arts Management, Law, and Society" – Taylor & Francis

Published: Jan 1, 2003

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